Acknowledgments ix Introduction Shakespeare's Brain: Embodying the Author-Function 3 Chapter 1 No Space Like Home: The Comedy of Errors 36 Chapter 2 Theatrical Practice and the Ideologies of Status in As You Like It 67 Chapter 3 Twelfth Night: Suitable Suits and the Cognitive Space Between 94 Chapter 4 Cognitive Hamlet and the Name of Action 116 Chapter 5 Male Pregnancy and Cognitive Permeability in Measure for Measure 156 Chapter 6 Sound and Space in The Tempest 178 Notes 211 Index 257
Shakespeare's Brain will inevitably be described as a 'cognitive' analysis because it pays attention to cognitive aspects of meaning, but it is no less 'historical,' 'theoretical,' and 'nterpretive'. The book gives rich treatments of the historical aspects of the plays and their production, the history of criticism, and literary theory. To this richness it adds the embodied mind of the writer writing, and the ways in which the plays investigate what is involved in conceiving of oneself as an embodied mind. Shakespeare's Brain offers old wine (Shakespeare) in new bottles (cognitive science), giving us not only a picture of the future of cognitive literary study but also some valuable new interpretations of the plays. -- Mark Turner, University of Maryland Mary Thomas Crane lays out with easy authority and admirable lucidity what criticism might hope to gain from considering the insights of cognitive neuroscience. Taking on a wide range of experimental and theoretical cognitive science as well as the beginnings of its absorption into historical and literary studies, she proves to be a gifted explainer. Moreover, her 'adjustment' of Saussure, Lacan, and Derrida has an unassuming brilliance, bold but modestly teacherly, controversial without being controversialist. -- James Richardson, Princeton University The implications of Mary Thomas Crane's approach are manifold and momentous, and she presents these in an introduction as striking for its lucidity as for its significance. Crane's scholarship is rich and extensive, and the book is beautifully written. -- Judith H. Anderson, Indiana University
Mary Thomas Crane is Associate Professor of English at Boston College. She is the author of Framing Authority: Sayings, Self, and Society in Sixteenth-Century England (Princeton) and coeditor, with Amy Boesky, of Form and Reform in Renaissance England: Essays in Honor of Barbara Kiefer Lewalski.
"Shakespeare's Brain will inevitably be described as a 'cognitive'
analysis because it pays attention to cognitive aspects of meaning,
but it is no less 'historical,' 'theoretical,' and 'nterpretive'.
The book gives rich treatments of the historical aspects of the
plays and their production, the history of criticism, and literary
theory. To this richness it adds the embodied mind of the writer
writing, and the ways in which the plays investigate what is
involved in conceiving of oneself as an embodied mind.
Shakespeare's Brain offers old wine (Shakespeare) in new bottles
(cognitive science), giving us not only a picture of the future of
cognitive literary study but also some valuable new interpretations
of the plays."—Mark Turner, University of Maryland
"Mary Thomas Crane lays out with easy authority and admirable
lucidity what criticism might hope to gain from considering the
insights of cognitive neuroscience. Taking on a wide range of
experimental and theoretical cognitive science as well as the
beginnings of its absorption into historical and literary studies,
she proves to be a gifted explainer. Moreover, her 'adjustment' of
Saussure, Lacan, and Derrida has an unassuming brilliance, bold but
modestly teacherly, controversial without being
controversialist."—James Richardson, Princeton University
"The implications of Mary Thomas Crane's approach are manifold and
momentous, and she presents these in an introduction as striking
for its lucidity as for its significance. Crane's scholarship is
rich and extensive, and the book is beautifully written."—Judith H.
Anderson, Indiana University
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